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A "Setting in" means to drive the tool down vertically with a mallet (photo C). Then make a horizontal cut to meet the curves. The sweep of the gouges should correspond to the curves of the lines. For this panel, I used an 8mm #5 and a 4mm #7 to set in all of the lines. Don't drive gouges too deep-they can break. When you set in, Stop about Four planes put back to work: The rabbet plane, at the left, lowers the background, and the plow plane grooves the guidelines; then the block plane and the round plane shape the curves. Begin the linen fold by marking Out the border with a marking gauge. Be sure to allow some extra material for a tongue, to fit the panel into a door or a furniture carcase. Next cut down the background along the edges with a rabbet plane (below). The most accurate way to set up the rabbeting is to clamp a fence, a smooth I-in. by 2-in. board along the face of the panel, to guide the plane and keep the edges straight. As a general rule, the background should not be taken down any more than one-half the thickness of your panel. If you exaggerate the vertical scale of the drawing too much and go for a deeper relief, the Four planes fold the wood Fence Next a plow plane defines the straight. parallel grooves that will guide the rest of the design. end folds will become fragile, which is a real problem in oak, the traditional Gothic wood. When the backgtound has been Cut down and smoothed, mark Out the ends of the panel by tracing a cross-section template from your plan. Make sure that your markings are symmetrical and that they line up on both ends of your board. I use a plow plane with a Ys-in. iron to cut a series of grooves that exactly match the deepest parts of the cross section. The grooves will serve as a guide for hollowing out the undulations with a round plane, keeping the edges parallel and p�eventing the shaping from going too deep. This is important for a clean, crisp job. Use a %-in. round plane, or some- thing similar, and carefully hollow out the concave folds. The plane iron should be absolutely sharp and the sole of the plane should be waxed with either paraffin or a hard, cross-country ski wax. Ski waxes come in different colors to indicate their relative hardness and the kinds of snow they should be used on. I find that harder waxes, such as blue or green glider, make planing easy and keep the cuts true and clean. Next smooth off the convex surfaces A block plane follows the convex folds. of the folds with a block plane, and then use a shallow carving gouge to eliminate any remaining ridges. A #5 sweep in a I2mm to 16mm width and a small flat chisel work quite well for this job. The rest of the shaping will be done with carving gouges and the lightest of finish-sanding. Now make another tracing and tem- The remaining carving will be done with chisels and gouges. plate showing the shape and outlines of the outer end folds. Transfer this to the ends of the panel (photo B), and begin "setting in" with a mallet and gouges. ?{6 Set in by driving vertical cuts to within in. of the background. 99 of the background depth. This is important because the outlines will eventually be undercut in order to give the final piece a feeling of depth and separation from the background. If you drive the gouge down toO far at this stage, the cuts will show after you undercut, leaving the work rough. Using a 14mm #7 gouge, ease off X6 in. short the edge you have just set in. This is done by carefully carving a smooth bevel that extends from the inner fold line down to the outer fold line, leaving no B Make . a template trace 11 on the the end folds and